Posts

ROY LICHTENSTEIN (1923-1997)  ‘The cliché gave my work a certain power. It was brave, risky. I try to organize its forms to make it monumental. The difference is often not great, but it is crucial.’ Lichtenstein, a New Yorker born to a wealthy family, blurred the distinction between commercial art and fine art. With Andy Warhol, Claes Oldenburg and Jasper Johns he became a leading figure in the Pop Art movement. Although initially trained by an American realist who spurned French Read More

VERMEER AND THE GOLDEN AGE OF DUTCH ART Bertrand Russell wrote: ‘It is impossible to exaggerate the importance of Holland in the 17th century, as the one country where there was freedom of speculation… Spinoza would hardly have been allowed to do his work in any other country.’ Alongside freedom to speculate, to philosophise, there was freedom to reinvent art, unencumbered by church or state. Realism, particularly in genre painting, flourished in the seven northern provinces of the Dutch Republic in Read More

PAUL CÉZANNE (1839-1906): Father of Modern Art ‘I point the way. Others will come after.’ The Post-Impressionist Cézanne was, according to Picasso, ‘the father of us all – my one and only master!’ Braque’s revolutionary Cubist painting Houses at l’Estaque (1908) owes everything to Cézanne. The critic who coined the term ‘Cubism’ was being rude when he wrote that Braque ‘reduced everything, places and figures and houses, to geometric schemes, to cubes.’ But it was essentially what Cézanne invented: the Read More

FILM NOIR ‘I have done many pictures which I suppose are film noir. And I can see the roots of that in Citizen Kane… but I couldn’t define it for you, then or now.’ Robert Wise, director of noir classics like Born to Kill (1947) and The Set-Up (1949), was wary of a definition, perhaps because film noir encompasses many genres from private eye thrillers – like perhaps the first noir, Huston’s ‘depraved’ (LA Times) The Maltese Falcon, 1941 –  to erotic Read More

ALFRED HITCHCOCK (1899-1980), Master of Suspense Hitchcock knew how to manipulate: ‘I enjoy playing the audience like a piano,’ he admitted. ‘There is no terror in the bang, only in the anticipation of it…’ He recognised that ‘everybody likes to be scared. Nothing has changed since Little Red Riding Hood faced the Big Bad Wolf.’ And he knew how to scare. Through anticipation, tension. And through the unexpected, as in Psycho (1960), perhaps his most original film. Rope (1948), made Read More